Pt. 2

“Pt. 2” is a song of stark contrasts and raw confession, acting as a direct continuation of “Father Stretch My Hands, Pt. 1.” The track delves into Kanye West’s personal turmoil, juxtaposing it with the hedonistic, street-oriented narrative of Desiigner's hit “Panda.”

The song opens with Kanye’s verse, which is deeply autobiographical and reflective. He touches upon his strained relationship with his father, Ray West, who left when Kanye was three, and the fear of repeating his father’s mistakes by prioritizing work over family. He laments his mother Donda's death and recounts his near-fatal car crash, which he previously detailed in “Through The Wire.” These lines paint a picture of a man grappling with loss, regret, and the fear of inherited flaws. He connects his father’s financial struggles (“market crashed, hurt him bad”) to the potential for familial breakdown, a vulnerability he now faces.

This introspective and somber tone is abruptly shattered by the transition into a heavily sampled portion of Desiigner’s “Panda.” This shift represents a move from internal struggle to an external, aggressive, and materialistic world. Desiigner’s lyrics about “broads in Atlanta,” drugs, and luxury cars (the white BMW X6 that looks like a panda) create a jarring contrast to Kanye’s vulnerable confessions. This juxtaposition can be interpreted in several ways. It may represent the chaotic and often contradictory nature of Kanye’s own life and psyche—the struggle between family and faith versus the temptations of fame and hedonism. It could also be a commentary on the state of modern hip-hop, where introspective lyricism and trap bangers coexist and influence each other.

The song concludes with ethereal vocals from Caroline Shaw asking, “How can I find you? Who do you turn to?” followed by a sample of Pastor T. L. Barrett’s “Father I Stretch My Hands.” This brings the track full circle, back to the spiritual yearning introduced in Pt. 1, suggesting that amidst the chaos and personal failings, there is still a search for salvation and liberation.

The song begins with a sense of urgent, personal reflection. The narrator wakes up with a heavy heart, missing someone and regretting not calling them back. This personal failing is immediately linked to a generational pattern, described as “the same problem my father had.” The narrative delves into the father’s life, consumed by his dreams and financial aspirations. A market crash devastates him, a hardship so severe that it’s noted as a reason people get divorced. Despite this, a gesture of financial support seems to have mended their relationship, as “pops is good.” This moment of reconciliation is starkly contrasted with the memory of his mother’s death in Hollywood.

A profound sense of loss permeates this section, as the narrator admits to losing his soul. This internal turmoil is externalized through a memory of a near-fatal car crash: driving too fast, losing control, going off the road, and suffering a broken jaw. The memory triggers a reflection on a past shared poverty, a time when “we all was broke.” This recollection fuels a defiant resolve to return and reclaim everything, to be “takin’ all the stacks.”

Suddenly, the song’s tone and perspective shift dramatically. The narrative voice, now belonging to a different artist, plunges into a world of hedonism and street life. It boasts of having women in Atlanta, mixing drugs and soda, and engaging with credit card scammers and “licks in the bando” (the trap house). The imagery is one of opulence and danger, centered around luxury vehicles like a black X6 and a Phantom, with a white X6 being compared to a “panda.” This lifestyle is portrayed as aggressive and powerful, likened to Tony Montana from Scarface, backed by a hundred killers with a hundred guns.

The braggadocio continues, reinforcing the “panda” motif and mentioning swollen pockets and selling drugs. The persona is hyper-masculine, like “Macho Man” Randy Savage, with a gun that earns awards. It’s a raw depiction of a life fueled by excess and threat. This aggressive energy is briefly interrupted by the original narrator’s yearning cry: “I just want to feel liberated.” This plea for freedom clashes with the chaotic celebration of a trap lifestyle that follows.

The second voice returns, reiterating the Atlanta-centric world of drugs, scams, and luxury. Waking up in Versace is the new reality. The persona claims dominance in the streets, pulling up in Phantom “ships” and boasting about Bugattis. The imagery remains violent and flashy, with the white X6 now “killin’ on camera.”

The song concludes with a complete atmospheric shift. A haunting, ethereal voice asks poignant questions: “How can I find you? Who do you turn to? How do I bind you?” These questions float over a sparse, atmospheric backdrop, a stark contrast to the preceding trap beat. The final words are a sample from a gospel song, a prayerful plea: “If I don’t turn to you, no other help I know, I stretch my hands.” This return to a spiritual and desperate searching leaves the listener in a state of contemplation, bridging the gap between the chaotic, material world and a deep, internal yearning for connection and salvation.

“Pt. 2” was created as the second part of the “Father Stretch My Hands” diptych for Kanye West’s seventh studio album, The Life of Pablo, released in 2016. The creation of the track was a dynamic process, marked by significant last-minute additions that shaped its final form.

The foundational elements include samples from “Father I Stretch My Hands” by Pastor T. L. Barrett, which links it thematically and sonically to Pt. 1, and a sound effect from the video game Street Fighter II. Kanye’s verse was deeply personal; he tweeted just before the album's launch event that he “cried writing this” and that the song was inspired by his relationship with his father.

The most defining feature of “Pt. 2” is its heavy sampling and integration of Desiigner's 2015 trap anthem, “Panda.” The inclusion was a late addition to The Life of Pablo. Kanye met the-then-new G.O.O.D. Music signee, Desiigner, and played the track for him. Desiigner recounted that Kanye had an idea, and they put their “brain power together” to make it happen. The producer of “Panda,” a UK beatmaker named Menace, was contacted by G.O.O.D. Music to provide the individual sounds of the beat. He sold the original beat to Desiigner for only $200.

The production credits for “Pt. 2” list Kanye West, Menace, and Rick Rubin as main producers, with co-production by Plain Pat and additional production by Caroline Shaw. Caroline Shaw’s involvement came after West attended one of her performances in 2014 and asked for her number. Her ethereal vocals provide the song’s haunting outro. The track, along with Pt. 1, was officially released to US rhythmic contemporary radio on June 7, 2016, as a two-part single.

The rhyme and rhythm of “Pt. 2” are characterized by a dramatic shift that mirrors its thematic and structural duality.

Kanye West's Verse:

• Rhythm: Kanye's delivery in the opening verse is deliberate and narrative-driven. The rhythm is conversational yet urgent, with lines that often spill over the bar lines, creating a sense of breathless confession. The pacing is relatively slow and introspective, allowing the weight of the autobiographical lyrics to land.
• Rhyme Scheme: The rhyme scheme is loose and often relies on couplets (bad/had, cash/crashed, broke/broke) and slant rhymes (Hollywood/good). This gives the verse a free-verse, storytelling quality. For example, “Up in the morning, miss you bad / Sorry I ain't called you back, same problem my father had” establishes a simple AABB pattern that feels direct and unadorned.

Desiigner's Sections:

• Rhythm: The transition to the “Panda” sample introduces a stark rhythmic change. The beat is a quintessential trap rhythm with fast-paced, rattling hi-hats, deep 808 bass, and a syncopated, energetic feel. Desiigner’s vocal delivery is percussive and filled with ad-libs (“brrr,” “git”), emphasizing rhythm over complex lyricism. His flow is choppy and repetitive, making his voice an integral part of the instrumental texture.
• Rhyme Scheme: The rhymes in Desiigner’s verses are simple and forceful, often relying on the repetition of key phrases. For instance, “Black X6, Phantom / White X6 looks like a panda” and “Going out like I'm Montana / Hundred killers, hundred hammers” use straightforward end rhymes that enhance the song's hypnotic, chant-like quality.

The interplay between these two sections is one of jarring contrast. The thoughtful, slower rhythm of Kanye’s personal narrative is completely overtaken by the aggressive, danceable trap rhythm of Desiigner's contribution. This rhythmic shift is the song’s most defining characteristic, pulling the listener from a state of reflection into one of high-energy chaos before dissolving into the ambient, arrhythmic outro provided by Caroline Shaw.

“Pt. 2” is a showcase of Kanye West’s eclectic and often jarring production style, blending disparate sonic and lyrical elements to create a cohesive, albeit chaotic, narrative.

Literary Techniques:

• Juxtaposition: The primary technique is the stark contrast between Kanye’s introspective, autobiographical verse and the aggressive, materialistic verses sampled from Desiigner’s “Panda.” This creates a thematic tension between vulnerability and bravado, spirituality and hedonism.
• Autobiographical Allusion: Kanye’s verse is dense with references to his own life, including his father, the death of his mother, and his near-fatal car accident. This grounds the song in a raw, personal reality.
• Repetition: The phrase “I just want to feel liberated” is repeated, functioning as an emotional refrain that underscores the song’s central theme of seeking freedom amidst chaos.

Musical Techniques:

• Sampling: The song is built on a complex layering of samples. It incorporates Pastor T. L. Barrett's gospel track “Father I Stretch My Hands,” Desiigner’s entire song “Panda” (both its beat and vocals), and a sound clip from the video game Street Fighter II (“Perfect!”). This collage-like approach is a hallmark of West's production.
• Beat Switch: The most dramatic stylistic choice is the abrupt shift from the initial, more subdued beat of Kanye's verse to the hard-hitting trap instrumental of “Panda.” This transition is intentionally jarring, reflecting the song's thematic duality.
• Vocal Processing: The track features a range of vocal styles, from Kanye's earnest, slightly autotuned delivery to Desiigner’s energetic ad-libs and rapping. The song concludes with Caroline Shaw's haunting, vocoder-like vocals, adding an ethereal and contemplative texture that contrasts with the rest of the track.
• Genre Blending: “Pt. 2” seamlessly merges gospel, confessional hip-hop, and trap music. This fusion of genres creates a unique and dynamic listening experience that defies easy categorization.

“Pt. 2” had a significant cultural impact, largely due to its unconventional structure and its amplification of Desiigner’s breakout hit, “Panda.”

Upon the release of The Life of Pablo, the track, alongside Pt. 1, was met with widespread acclaim from music critics, many of whom praised Kanye’s deeply personal verse. Commercially, “Pt. 2” performed well, charting in multiple countries. It debuted at number 54 on the US Billboard Hot 100 and was certified platinum by the RIAA in 2018 for selling one million units. It also charted in the UK, Canada, and Ireland.

The song's most significant cultural contribution was its role in catapulting Desiigner to mainstream fame. While “Panda” was already gaining traction, its heavy inclusion in a Kanye West album gave it an enormous platform. This symbiotic relationship was a major topic of discussion; some argued Kanye “stole” the song, while others contended that he immortalized a track that might have otherwise been a short-lived hit, integrating it into the fabric of a classic album. The move was seen as Kanye anointing a new artist and trend in hip-hop, solidifying the influence of the trap sound in the mainstream.

The jarring transition from Pt. 1 into Pt. 2 became a widely discussed and memed moment among fans, celebrated for its raw energy and surprise factor. The song remains a fan favorite and is often cited as a highlight of The Life of Pablo for its emotional depth and explosive energy. It is a prime example of Kanye's "producer as curator" role, where he identifies rising sounds and incorporates them into his own broader artistic vision, thereby shaping the musical landscape.

“Pt. 2” is rich with symbolism, primarily driven by its stark juxtapositions and autobiographical references.

• The Father Figure: The song opens by referencing Kanye's father, symbolizing a cycle of personal failings and the fear of inherited flaws. The line “Same problem my father had” frames Kanye's own struggles with commitment and presence within a generational context, making his personal anxieties a larger commentary on fatherhood and legacy.
• The Car Crash: The mention of his 2002 car accident (“Drivin' fast, lost control / Off the road, jaw was broke”) is a powerful symbol of losing control in his life. It serves as a metaphor for moments of self-destruction and vulnerability, a stark reminder of mortality and the consequences of a reckless lifestyle. It also signifies a point of rebirth, a theme he explored in his debut with “Through The Wire.”
• “Panda” as a Metaphor: The integration of Desiigner’s song “Panda” functions as a larger symbol for the chaotic, hedonistic, and often dangerous side of fame and the music industry. The white BMW X6, which “looks like a panda,” is a direct metaphor for luxury and status obtained through a street lifestyle. The jarring shift from Kanye's somber verse to the aggressive energy of “Panda” symbolizes the internal conflict between his spiritual/familial self and his public-facing, often controversial, persona.
• Liberation: Kanye’s repeated cry, “I just want to feel liberated,” acts as the song's emotional core. It symbolizes a deep yearning for freedom from his personal demons, public scrutiny, and the very materialistic chaos described in Desiigner's verses. This plea for liberation is spiritual, emotional, and psychological.
• Spiritual Outro: The final section, with Caroline Shaw’s questioning vocals and the Pastor T. L. Barrett sample, symbolizes a return to faith and a search for guidance. After the whirlwind of personal trauma and trap hedonism, these final lines represent a moment of clarity and desperation, a spiritual reaching out for an anchor in a tumultuous life.

“Pt. 2” features several powerful recurring phrases and motifs that anchor its chaotic structure and deepen its meaning.

• “Father Stretch My Hands” Motif: Although the phrase itself is not in “Pt. 2,” the song’s title and its sampling of Pastor T. L. Barrett’s gospel track of a similar name connect it directly to Pt. 1’s spiritual plea. The song opens and closes with this gospel influence, framing the entire piece as a prayer or a cry for help, even with the trap-centric middle section.
• “Panda”: The word “Panda” becomes a central, recurring motif throughout the middle of the song. It refers to a white BMW X6, but it evolves into a symbol of a lavish, dangerous, and hedonistic lifestyle. Its repetition by Desiigner turns it into an infectious, hypnotic hook that defines the track's trap identity.
• “I just want to feel liberated”: This cry from Kanye is a crucial recurring lyrical phrase. It appears after the initial immersion into the “Panda” chaos, serving as a moment of clarity and desperation. Its repetition highlights the central theme of seeking freedom—from personal history, from sin, from the pressures of fame—and provides a poignant contrast to the materialism surrounding it.
• “I got broads in Atlanta”: This phrase, repeated in Desiigner’s verses, establishes the setting and mood of the track's middle section. It's a motif of excess and geographical identity within the trap scene, grounding the song in a specific, contemporary cultural context.
• Luxury Vehicles (X6, Phantom): The recurring mention of the “Black X6, Phantom” and “White X6” serves as a motif for wealth and status. These cars are not just possessions; they are symbols of power and success within the narrative Desiigner paints, contrasting with Kanye's earlier reflections on financial ruin and being “broke.”